(HEART BEATING)
(HEAVY BREATHING)
(DANCE MUSIC PLAYING)
(PEOPLE CHATTERING)
MAN: Hey, Paul! Paul, where are you going?
PAUL: We'll be back!
But Lola Blossom's going to do a dance!
And we got all the freshmen dressed up like dogs
so they can crawl on their knees and bark at her!
Yeah, fine! We'll be back!
Shall I tell Lola to get started?
Yeah, tell Lola to get started!
(PAUL WHOOPING)
(CAR ENGINE STARTING)
(BREATHING CONTINUES)
(BOTH GIGGLING)
I don't think I'll ever be frightened of graveyards.
They're special for us.
It was almost this very spot.
Is that why you brought me here tonight?
No, that's not why I brought you here tonight.
I saw you peeking into the bedroom
where Lola Blossom was getting dressed.
I wasn't peeking!
Well, what do you call it then?
She just left the door open and I...
Go on, Paul.
I merely suggested to her that perhaps she should close it.
Yes, Paul. I understand.
(GIGGLING)
(CREAKING)
Leslie?
Oh, Paul! It's beautiful.
Will you marry me, Leslie?
Yes, Paul. Anytime you want me to.
I love you.
It was my grandmother's.
I've never seen anything so beautiful.
(CHUCKLES) You know, the only thing I own is this car.
It isn't even paid for yet.
We can move into my folks' summer place
any time we want to.
It's boarded up since they died.
We can make it livable.
It's only 10 miles from here.
(CREAKING)
What was that?
We're not the only two out here.
(BOTH LAUGH)
LESLIE: I love you.
(LESLIE MOANING)
(PAUL GRUNTING)
Oh, I love you. Oh.
No!
(SCREAMING)
Oh, no!
LESLIE: Oh!
(GRUNTING)
(SCREAMING)
PAUL: Help me!
(SCREAMING)
(LESLIE SOBBING)
(SCREAMING)
(CRYING)
No!
Oh, no! No! No! No!
(SCREAMING)
(SHRIEKING)
WOMAN ON PA: Dr. Brewster to surgery. Dr. Brewster to surgery.
Hey, hi. Lieutenant.
Honestly, this place gives me the horrors.
I'm nervous.
Is there any way I can have a drink?
You'll get your drink, Zack.
Now, just give it to me one more time.
(STAMMERING) I told it to you more than 50 times!
Once more, Zack.
I was asleep by the rear gate of the cemetery.
I heard a thumping sound.
I heard a woman scream. That woke me up.
Then I tried to go halfway back to sleep.
But the sun was coming up, I couldn't keep my eyes closed.
So I got up and walked a bit,
and then I saw a dead man, terrible, oh, terrible.
And then another man climbing out of an open grave.
Got up yelling and screaming,
then I looked down in the grave
and there she was with her dress up,
and the rest of her body naked.
I started running down, Lieutenant,
yelling and yelling, and running until the patrol car picked me up.
And I ain't had a drink since.
When you saw the man running,
can you remember if the sun had completely risen?
I was so frightened, when I saw that dead boy's face,
I couldn't think of anything else.
Try to think now.
I don't remember the sun. I only know it was like
a grayness, when the night is over.
You can go now, Zack.
Just check in with us every day for a while.
Oh, thank you. Thank you, Lieutenant.
I will, I will.
And, Lieutenant, I'll be down by the Bible mission, too.
(CHUCKLING)
And no more cemeteries for me.
Good thinking, Zack.
WOMAN ON PA: Dr. Evans, Room 312. Dr. Evans, Room 312.
Aren't you going to hold Zack?
Mmm-mmm.
He was drunk.
Maybe he blew his top and killed the kid.
I wouldn't put it past him.
Zack is harmless.
And what's all this about the sun having come up or not?
The kid's body was drained of blood, wasn't it?
He was badly cut up. The blood just drained out.
Then where is it?
It wasn't on the ground, it wasn't in the car.
I figure he was killed somewhere else
and then dumped in the graveyard.
Maybe you're right.
Now, look, Lieutenant,
all day long you've been dismissing
every possibility I've come up with,
and I don't mind telling you, I don't like it.
Now, we've got a young man
who has been murdered in some freaky way,
a young girl, half out of her mind,
who may or may not have been sexually assaulted,
and a crypt from which someone stole an old corpse.
Now, how about asking some questions around that campus?
We will, Duffy.
And any place you feel we might come up with something.
All right, then.
All right.
WOMAN ON PA: Dr. Haymans, Radiology. Dr. Haymans, Radiology.
Leslie Hollander was raped, Lieutenant.
There are contusions and bad bruises
on her back and on her legs.
And she's gradually coming out of the shock.
May I try to speak to her?
Well, all right, but just for a few minutes.
Leslie?
There are some gentlemen here from the police to see you.
Miss Hollander, I'm Lieutenant Panzer.
This is Sergeant Duffy.
And we'd like to talk to you about what happened last night.
It's not only what happened to you, miss,
it's what could happen to others in the future.
It's your duty under the law to...
I'm going to show you some pictures.
Now, it's possible that the man
that did this to you is in these pictures.
I'm going to hold them so that
you can easily glance at each one.
WOMAN ON PA: Dr. Miller, Administration.
I'll keep on flipping them.
And you keep on looking at them.
The faces, Miss Hollander.
Faces.
That's good.
Can't you see she needs rest?
Now, Olga, we're not going to hurt Leslie.
Come on now.
(GASPING)
Gentlemen, you'll have to leave.
Sorry.
(LESLIE SOBBING)
Okay.
(SHUSHING)
Whose photo was it?
The very man whose corpse is missing from the crypt.
Caleb Croft.
Last arrested, Boston.
Rape.
Care to read it?
He escaped the same night they caught him.
The chase led through the Boston subway system on foot.
He accidentally fell on the third rail,
and he was electrocuted.
They shipped the body to California
and placed it in that crypt,
almost three years ago.
Just suppose the boyfriend raped her.
And just suppose she's trying to give us the runaround.
And just suppose her boyfriend committed suicide
by running backwards into a gravestone.
Lieutenant, you've got a great record on the force.
You could very easily be up for chief.
But just let it be known that you believe
that somebody got juiced with 50,000 volts,
and three years later climbs out of his grave,
commits a murder and a rape,
and then runs off into the sunrise like Bela Lugosi.
You'll lose your job, your pension, everything.
You've convinced me.
(SIGHING)
Like hell I have.
(SIGHING)
(SHUSHING)
You...
You just rest.
Everything will be all right.
MAN ON RADIO: Don't try to hide from me.
WOMAN ON RADIO: You fiend!
Don't waste your breath, my dear.
No one can hear you.
My basement laboratory is soundproof.
Why did you bring me down?
You know I'm afraid of the dark!
I need you for a painless experiment.
Within the hour, I will have
completely drained you of blood.
You're a maniac!
You'll never get away with this.
Mike will find me!
Don't count on it, my dear. And if he does find you,
it will be too late.
WOMAN ON RADIO: Stay away from me.
Please, leave me alone!
MAN ON RADIO: It's too late!
You should have been more cooperative.
No! No!
Don't struggle, Susan. Just relax!
No, no, please leave me! Don't touch me!
(MAN LAUGHING)
(WOMAN GASPING)
(WOMAN SCREAMING)
(BONES CRACKING)
Doctors pretend like they know everything.
Pills, needles, talk.
And the people wither away.
The pills help me, Olga.
They help you forget you're alive.
Olga, I would like to talk to Leslie
alone for a few minutes.
I've been taking care of Leslie for 24 hours a day,
but now I have to leave for a few minutes?
It's all right, Olga.
My husband died from pills.
Sit down.
The reports are back from the lab, Leslie.
DOCTOR: No doubt, you're pregnant.
A baby?
Paul's baby.
(LAUGHING)
Leslie, listen to me.
I'm asking that you have an abortion.
Why?
Leslie, what's growing inside of you isn't alive.
Your body is nourishing it, giving it blood and oxygen.
But when it leaves your womb, it'll be dead.
There must be some mistake.
There's nothing wrong with my baby.
I'm healthy, and Paul was healthy.
You don't know everything. Olga was right.
Leslie, I've been your doctor most of your life.
Now, there's no mistake.
What's inside your womb isn't a human being.
It's a parasite.
It'll drag you down and it'll kill you.
Now, we must take that parasite out of you.
My mother used to bring me here.
All those old people in the waiting room,
none of them ever got better.
Now, Leslie, you know better than to talk like that.
You won't touch my baby.
It'll be born healthy and you won't even be there.
Olga!
I know what you're going to try to do,
and I'm not going to let you!
Olga!
Olga, take me away from here.
We're not going to see any more doctors.
Come on, baby.
Leslie, please!
Come on now.
Leslie!
May I help you with your bags?
We don't want help from you.
The other officers are calling it an unsolved crime.
Why do you persist?
I'll find him, Miss Hollander.
(CAR ENGINE STARTING)
(SOBBING)
All the pain will soon be over, Leslie.
(MOANING)
Dr. Ford said this baby wasn't alive,
but you proved him wrong,
and your baby kept growing inside you.
Now it wants to be born.
Oh, I can feel it coming!
(SHUSHING)
(LESLIE MOANING)
All the pain and misery.
Them doctors wanted to rip this baby from inside you.
(SHUSHING) It's coming now, Leslie.
(SCREAMING)
(BABY CRYING)
It's a boy!
Huh, Leslie? He's a good, healthy boy!
(BABY CRYING)
(LAUGHING)
I want to see him.
Sure.
Well...
I want to see Paul's baby. Why don't you bring him to me?
Oh, look at his little hands, Olga.
Yes.
Why is he so gray?
I've never seen a baby with such a color before.
Maybe we should call Dr. Ford.
No! He'll be all right.
We'll make him well and strong.
(BABY CRYING)
Oh!
(SHUSHING)
Please, Leslie, let me call Dr. Ford.
No doctors, Olga.
That baby's gonna die. It won't take milk.
It won't die.
Bring him to me. We'll try once more.
♪ When you wake, you shall have
♪ All the pretty little horses
♪ Dapples and grays
♪ Pintos and bays
♪ All the pretty little horses
(HUMMING)
♪ Dapples and grays
♪ Pintos and bays
♪ All the pretty little horses ♪
JAMES: My mother found it difficult to tell me
that I wasn't like other children.
I could never share life with whole human beings.
I slowly learned that the thing
that raped my mother and fathered me
was no living, feeling man,
but a malignant force, a cancer that refused to be destroyed.
It wasn't only her blood that
my mother gave to keep me alive.
Her youth and her own life were sucked up
into the servings that fed me.
I came to hate Caleb Croft for creating me in his image,
and for using my mother as a spawning ground for his evil.
I'm determined to destroy him.
I've tracked him from country to country,
to the colleges and universities
where he finds the fresh young blood he craves.
Luck or an animal sense of danger
keeps him always one step ahead of me.
But the circle is closing.
Soon, I'll meet my father face to face.
Soon, I'll have him where I want him.
(STUDENTS CHATTERING)
Is this Professor Lockwood's extension course
on folk mythology and the occult?
Yeah.
I'm Anita Jacoby, working on my doctorate.
I'm James Eastman. Hello.
Hi.
These night courses are really much more interesting.
All types and ages.
I hear if you're not in time to get a seat,
you can't take the course.
I hope my roommate gets here on time.
Sarah.
Sarah?
It's getting chilly.
I have a place we can go to.
Ain't I good enough for you?
(GASPING)
(SCREAMING) No, no!
No! No!
No! No! No!
Oh, no! No, no, no!
(STUDENTS CHATTERING)
Those of you who don't have seats will have to leave.
I'm sorry, but we just don't have the space.
I know that some of you are lawyers, teachers,
bored housewives with nothing better to do with their evenings.
But with any luck, a few may learn something.
My name is Lockwood.
Professor Adrian Lockwood.
It's called goober dust by the older blacks in the deep South.
Sprinkle it around your enemy's bed at night,
and he will die in his sleep.
Ground up peanut husks, that's all it is.
Can it really kill?
No.
Not here, with automobiles and electric lights.
We could never believe such a thing.
But strip away the lights, the automobiles,
the antibiotics that keep us one step ahead of death,
and we are left with pathetic, frightened little creatures
wandering in a cruel and hostile world.
So we fear the gods,
demons, devils, bats, banshees, angels...
JAMES: Vampires.
(STUDENTS MURMURING)
Yes, as a matter of fact, vampires.
It is those answers, answers born out of fear,
that we are here to study.
It's interesting that you should all
turn out here tonight in overflow numbers.
Is it that, like primitive man,
you're still filled with fear,
with a nameless dread that you cannot shake?
Death.
Who are you?
Anita Jacoby.
Death has been the chief dread,
the one obsessive preoccupation of man
since he first crawled from the caves.
Of all the animals, only man is aware
that as surely as he was born, he will someday die.
The individual who can inflict death
has the complete respect of the other man.
They are in awe of him.
Death is also very beautiful.
Some loved ones we have seen in death
never looked more peaceful, more serene.
What is your name?
Anne Arthur.
I'm an instructor in English literature.
I'm sorry if the subject frightens you.
I'm sure no one holds you responsible, Professor.
The voice interested in vampires.
Yes.
I plan a paper on Charles Croydon.
Charles Croydon is not generally known.
Perhaps you would care to share your knowledge
with the rest of the class.
Thank you.
He was a 17th century English nobleman.
It is said that he and his wife were vampires.
They were hunted by the Church of England.
They sought refuge in
a small Puritan settlement in Massachusetts.
Croydon was responsible for a series of gruesome murders near Salem.
His wife was, in fact, burned as a vampire in 1846.
But Croydon was never found.
Then if we are to accept the traditional legend
that vampires can only be killed
by the ritual of the wooden stake through the heart,
Charles Croydon must still be alive today.
But why must he hide?
A vampire with all the awesome,
terrible power of Satan?
All the black arts at his command?
Why must he be forced to scurry like a frightened rat?
But as a vampire, what choice would he have?
He would have to protect himself
against the anger of righteous people.
You would think the man's personality would compel him to stand up.
To terrify all the puny mortals around him.
And not to hide in dark holes
behind assumed names.
Like Caleb Croft.
Who's Caleb Croft?
Even I know the answer to that one, Professor.
LOCKWOOD: Well, let us hear it.
Caleb Croft was a murderer.
And a rapist.
Accidentally electrocuted in the late '30s.
His body mysteriously disappeared.
And a police officer believing Croft to be a vampire
was found near Croft's burial place,
dead, drained of all his blood.
These facts are all published in a book
that links Caleb Croft and Charles Croydon.
LOCKWOOD: What book is that?
Let me see.
Oh, yes, it's called The Mysteries of New England.
But there weren't many copies made.
You seem very interested in the Croft case, Professor.
Yes, I am, Mr...
Eastman.
James Eastman.
Mr. Eastman.
If you remain in the class long enough,
you, too, may develop an interest
more than you bargained for.
(BELL RINGING)
LOCKWOOD: Miss Arthur.
ANNE: Professor Lockwood.
I just wanted to thank you
for an excellent class this evening.
You have a way with your students.
What way is that?
Compelling.
Students often drift during my lectures.
They are fools.
Come closer, Miss Arthur.
Into the light.
You did not come here to discuss your students, Miss Arthur.
At first, you reminded me of my dead wife, Sarah.
But then I went beyond that.
No artist could capture such grace.
Forgive me if I seem to be compelling.
That quality is inspired by you.
Please, Professor Lockwood,
I feel very helpless at this moment.
I'm sorry.
Perhaps another time, another place.
I would just like to leave here now.
You're free to leave.
No tricks.
No goober dust.
My work's the most important thing to me.
I know.
Good night, Miss Arthur.
That's all, sir. Closing time.
You have to leave now.
I would like to take this book.
Oh, no, that's for reference only.
I couldn't let that go out.
I drove all the way from the university hoping to find a copy.
It's vital for a lecture I have planned.
I'm Professor Lockwood.
Professor Lockwood.
Yes.
May I borrow it for a day or two?
I have to close up now.
You have lovely hair, Mrs...
Fenwick. Miss Fenwick.
I was a photographer's model once.
You'll have to leave now.
The book, Miss Fenwick?
The library has very strict rules.
I can't make any exceptions.
You led me to believe that I could take it.
I did not.
All that business about your hair and your eyes.
Good night, Professor.
You were using me.
You have got to go!
(SCREAMING)
Using me!
(SCREAMING)
Using me...
(DANCE MUSIC PLAYING)
Thanks for coming.
Can I get you a drink?
No, thanks.
Dance then?
I'm not too good at that sort of thing.
(CHUCKLES)
All you have to do is move.
You do move?
(BOTH CHUCKLING)
Yeah, I move.
I think I'd like to start by just sitting down.
Agreed.
On one condition.
You stand right here for one minute.
And let me do all the work.
I don't get you.
There's nothing to get.
James is playing heavy tonight.
It's all right.
I'll go any route you want.
I wanna show you something.
I've been comparing Charles Croydon,
the vampire, with Caleb Croft.
I agree with TJ Boyd. They're one and the same.
But I think that you know more.
Or Professor Lockwood knows more.
Or you know something about each other.
James?
I can't help you.
You're like Croft.
Or Croydon.
I'd swear you were a vampire
if I hadn't seen you walking around in sunlight.
You're unattainable.
I do turn you off.
Hey.
I'm sorry.
Oh, Anne.
I'm sorry about all this.
We played some records and called some people
and now we got a thing going here.
Oh, it's just that I'm so tired, that's all.
Professor Lockwood wear you out?
Sounds as if you've been hearing some gossip.
You and Professor Lockwood were together after class, that's all.
We were.
He was deeply affected by the death of his wife, Sarah.
It seems I resemble her.
Thanks very much for inviting me. Good night.
Wait.
Look. You're never gonna get a chance to cook your dinner here.
James lives just above.
Go borrow some pots and pans.
I'd be happy to.
All right.
Sarah.
Charles Croydon.
Sarah Croydon.
Caleb Croft.
Croydon.
Croft.
Lockwood.
There's the pots.
Can I fix you some spaghetti?
No, thank you.
Some Chianti then?
All right.
Do you have a corkscrew?
(CHUCKLES) Yeah.
Will you do me the honors, then?
Pleasure.
Do you have a dog or a cat?
(LAUGHS)
The meat's mine.
Oh.
I guess the next logical question is
how come we're not 20 years old
and playing the bongo drums downstairs?
Sorry, I'm embarrassing you.
Oh, I don't feel like stuffing myself with any damned spaghetti.
It's so beautiful with you, James.
I hope you don't think I'm always so aggressive.
I don't.
You have such deep passion.
Such wonderful passion.
So silent all of the time.
Oh, Miss Jacoby.
I hope you're not disappointed.
Anne isn't here.
I suspect she's spending the night with James Eastman.
How interesting.
You don't have to play games with me, Professor.
It's 3:00 in the morning.
I know why you've come here.
Then I trust you mature enough to be discreet
about my interest in Miss Arthur.
(CHUCKLING)
Why, Professor Lockwood, you're acting almost human.
I fail to appreciate your humor, Miss Jacoby.
Then I'll share it with you.
Mysteries of New England
by TJ Boyd.
I've researched every written word on the black arts.
The occult, voodoo, witches, vampires.
Boyd describes you perfectly,
Lockwood.
Croft.
Croydon.
(CHUCKLES)
You're imagining things, Miss Jacoby.
I want you to make me a vampire.
Slowly mix my blood with yours.
Until one night,
while I'm bathing in the light of the full moon,
the black magic will take place.
And I will come to you as your bride.
And serve you for all eternity.
And if I were Croft, or Croydon,
the idea of a companion for all eternity?
The relationship would become a bit stale,
don't you think?
I pride myself on my imagination.
Entertainment would be kept in constant flow.
I could scream now and the halls would be filled with people.
You would be dismissed just for being here at this hour.
But I won't scream.
Because you are Charles Croydon.
Vampire.
They took your wife, Sarah, from you.
And burned her.
I want to take her place.
I love you, Charles.
Please, take me, Charles.
Take me.
I am Caleb Croft.
And Charles Croydon.
You shall have your wish, Anita.
When do we start?
Tomorrow night.
At my home.
I should leave now.
I'll see that there's no one in the hall.
(ANITA GASPING)
I don't expect you to act in any particular way.
No pressures.
No obligations.
If we get together again,
it's because we both want to.
(SHOWER RUNNING)
No!
(SCREAMING)
(ANNE WHIMPERING)
(CRYING)
Teacake, Anne?
No, thank you, tea is enough for me.
God, if I found Anita like that,
I'd be in a straightjacket.
But here you sit, sweet as cream,
ready for tonight's seance.
Well, I guess it must be English fortitude.
Cake is so delicious.
I can't believe dead people haven't found a way to eat it.
After all, they're just like us.
Only crossed over, I mean.
Do you think Professor Lockwood's really going
to make contact tonight?
I can't say it's impossible.
I'm so glad you feel that way.
Sam says I'm too emotional about these things.
But nobody could accuse you of being too emotional.
Well, I didn't mean it like that.
I'm sure you can be very emotional when you want to be.
It's just that you're usually so cerebral.
But me, I'm a mystic.
Sam says I eat too much to be a mystic
but look how fat Buddha was.
(CHUCKLING)
Is Sam inside?
Yes.
He's still poking around.
I'll die if Professor Lockwood comes back
and finds him looking under rugs
for loudspeakers and hidden wires.
Find anything?
The house seems legit.
But to afford it, he's got to be
a syndicate bag man at least.
Well, it's going to be genuine, I know it.
Look, Carol, just because I couldn't find anything,
doesn't mean it's not here.
Sam, don't spoil things tonight.
I promise not to smoke, drink, or use abusive language.
I came here for a spook show.
And I'll cooperate.
But that doesn't mean I have to believe it.
You know, Carol's been three inches off the ground
ever since Anita and that librarian got it.
Both bodies drained of blood.
It must have been a vampire.
Look what I bought.
Me.
Carol Moskowitz.
I'll put my trust in a .45 automatic.
CAROL: But you promised to go along.
Okay, okay. Mine is not to reason why.
Mine is just to do or die.
Good evening.
I took the liberty of dismissing the servants.
Their very presence in the building could be distracting.
You make a groovy medium, Professor.
It is not I who will be the medium.
JAMES: Who then?
Anne.
Why Anne?
Because it is you who is most qualified.
Oh, yes.
If you remember our conversation one evening after class.
ANNE: I remember.
I was testing your ability to submit to suggestion.
As I have tested each one of you.
And I have found you
to be the most developed of all my students.
I don't believe a word of the professor.
Passion in any direction is welcome here.
I promise you, Sam,
that if you just try to cooperate,
you will have a total experience this evening.
You can't ask for any more than that, Sam.
No.
We will all sit at the table.
Miss Arthur.
You will sit here.
Now, remember, there is nothing to know
and nothing that we are obliged to do
except to join hands
and to relax.
Relax.
Now, if you'll sit back in your chairs,
close your eyes,
dismiss everything from your minds.
Everything, everything.
Our bodies are relaxed.
And we will bring all our thoughts
to one central part of our brain.
Then to our shoulders.
Our arms.
Our hands.
One into the other.
Into the other, until our minds merge slowly.
One into the other.
Into the other.
Relax.
There is one who is still fighting.
One who needs further help.
Come on, Sam, you promised.
I'm not doing anything, I tell you.
LOCKWOOD: Now try. Try.
That's better now.
Sarah.
My wife, Sarah.
Anne is here with us all.
(GROANING)
She is ready to receive you now.
Take her, Sarah.
Your mind in her body.
With me.
Through all eternity.
(MOANING)
Sarah.
Sarah!
Sarah failed you, Charles.
You're mine now.
That's Anita's voice.
I've crawled the floors of hell
to face you, Charles.
Anita, tell us the truth about Caleb Croft
and Charles Croydon.
It was you fighting me.
You calling Anita.
Anita, tell us about Croft,
Croydon and Lockwood.
The same man,
the same vampire!
I love you, Charles.
A moment more and I shall become Anne
to serve you for all the nights
of all time.
You will not possess Anne's body!
Too late, Charles. Too late.
I'm here now with all of you.
Fight her, Anne. Cast her out.
Fight, Anne. Fight!
No, Anne!
Submit to me. He'll murder you as he did me.
James was right, Anne.
Lockwood is the vampire.
All of you, Professor Lockwood is the vampire.
Anne, look at me!
Look into my eyes.
Cast Anita out, Anne.
Cast her out.
Yes.
(GASPING)
Anne? Anne?
James.
It's all right now.
Anita is gone.
I don't know about the rest of you, but I think...
Just what do you think, Sam?
I think either you're a vampire,
or Anne is a marvelous actress
and voice impressionist.
And that both of you staged this whole thing for the effect.
And just how effective would you say it was?
It was damn effective.
But you're not worried that I'm a real vampire.
Or that I'm going to kill all of you in this room.
I'm not worried.
Is, uh, anybody else worried?
I'm not afraid.
I even left my crucifix upstairs.
You remember what you said about us getting together again?
When it's because we both wanna?
Yes.
Well, I want to.
I've locked all the exits.
I am Charles Croydon.
This is ridiculous.
Come on, Leticia,
let's get the hell out of here.
(MAN SCREAMING)
(BODY THUDS)
Come on, get out of here.
(WOMEN SCREAMING)
(SOBBING)
I don't know what the hell's going on here, Professor,
but one more step and I'll shoot.
(WOMAN CRYING)
Stay here.
(SAM SCREAMING)
WOMAN: (CRYING) No!
No!
No, no, no!
No, no!
Oh, no, no, no, no!
No...
(BANGING ON DOOR)
(HISSING)
(YELLING)
(WOMAN SCREAMING)
(SCREAMING)
Who are you?
I'm your son, Lockwood!
Your son conceived in a grave
the night Caleb Croft rose from his crypt.
Yes.
(LAUGHING) Yes.
Yes, and I'm going to destroy you!
(GRUNTING)
(GASPING)
The world is finally rid of you, Charles Croydon.
Be damned!
(GRUNTING)
(GASPING)
(YELLING)
(GRUNTING)
James. James, what's the matter?
Get away from me, Anne.
James.
Run, Anne, run!
(YELLING)
(GRUNTING)